Foe plays to the strengths of its actors, two of the most natural and subtle on screen, and is endlessly engaging even though it eventually stumbles into head-spinning narrative problems.

Mulholland Falls is a period thriller that is distinguished by an excellent cast, even if most of them seem to be outdoing each other in deep gravel voices.

It's kitsch at times and transcendent at others, but the delicate puppetry and the gonzo ambition will guarantee Annette a cult following.

Dungeons & Dragons: Honour Among Thieves is no masterpiece, but it's warm, upbeat, unpretentious entertainment, and it's bound to be popular. We certainly won't have to wait another 23 years before the next Dungeons & Dragons film comes out.

Structured as a hardboiled detective thriller, Crimes of the Future has plenty of provocative concepts and images that will put a grin on your face (not least the dancer who has several ears on his face), but you may find yourself willing the plot to pick up momentum, and the ickiness to get a whole lot ickier.

It is a flawed film with a kind heart, but a significantly less impressive progeny of The Father's talky triumph. Like father, like son? Sadly, that doesn't seem to be the case.

You have to hand it to Nolan. To use the old expression, he puts the money on the screen, delivering the kind of noisy, extravagant and fundamentally ridiculous pulp fiction which reminds you why you go to the cinema. But it collapses under the weight of all the plot strands and concepts stuffed into it. You don’t get the impression, which you usually get from his films, that every element is precisely where it should be. Some parts of it go on too long, others not long enough. It’s a treat to see a really big film again, but a smaller one might have been better.

Viewers are sure to be impressed by Aster's prodigious imagination and technical skill, amused by his gallows humour, and amazed by some of the outrageous images he puts on screen. But whether they will be enthralled by the film is another matter.

A cheesy but good-humoured voiceover adds to the charm, while the events on-screen can often be exciting and fascinating to watch.

The Order is a sombre, steadily paced, conventional drama. It's superbly acted by its charismatic cast, the locations and the period are evoked beautifully, and, best of all, the violent robberies and shoot-outs are staged with a nerve-jangling ferocity that recalls Michael Mann's Heat. But it isn't quite as gripping as the events deserve.

If a screenplay is going to be fixated on the history and purpose of storytelling, the stories within it have to be better.

It's a bona-fide piece of cultural history. If you love hip hop, this is unmissable.

It's a little hard to take Hugh seriously but he acquits himself reasonably well in this slight but entertaining thriller.

Eternals is more serious in tone and more deliberate in its pacing than the average Marvel movie, with less of the usual banter and no cameo appearances by other superheroes. But, if you're looking for the humanity and originality of Zhao's other films, you won't find much of it here.

A flimsy but pleasant enough comedy.

The actors keep the film going, at times by sheer magnetic on-screen presence even when the screenplay lets them down.

What's captivating about Bones & All is that it is so understated. The first few gory scenes suggest that Guadagnino has made an outrageous black comedy that gets its startled laughs and screams by contrasting the conventions of a coming-of-age romance with those of an X-rated monster movie. But soon Bones & All becomes entirely straight-faced. It isn't a horror film or a comedy, it's a sincere, sweet indie road movie that happens to feature bloodthirsty serial killers.

The racing sequences have enough energy and jeopardy to raise the pulse rate, but the rest of Ferrari... well, surely a film about high-speed cars shouldn't pootle along as slowly as this one does.

The main feeling it instils in the viewer is a renewed respect for the imagination of Lucas. The Rise of Skywalker has been lovingly crafted by a host of talented people, and yet the best they can do is pay tribute to everything he did several decades ago.

Branded by some as nothing more than a glorified soap opera, "An Affair to Remember" isn't afraid to employ some rather obvious dramatic devices, but it's hard not to become swept-up into a romance that seems doomed to failure.

The Whale retains the pacing, structure and conventions of a solid but clichéd melodrama.

Niki Caro’s film is a well-constructed family-friendly wuxia drama, with bright colours, grand scenery, and commendable themes. But it’s best enjoyed if you’re expecting a solid tween movie rather than a monumental cinematic landmark.

This is an energetic, fun, almost enchanting thriller with genuine moments of tension and a good few thrills too.

While not the most exhilarating 80 minutes, this is a movie that will find much identification with anyone whose teenage years were remotely angst ridden, with Hausner capturing the simmering tensions of suburban life with assured ease.

On Swift Horses isn't a disaster, but given its stars and potential, it is a disappointment.

Craig's soul-baring, skin-baring turn aside, Queer is a proudly artificial curio.

Ali G Indahouse delivers more than its fair share of saucy hilarity.

A mischievously rib-tickling tale with a stupidly simple premise: Sellers plays an uninvited guest at a Hollywood party who loses his shoe and talks in a dodgy Indian accent.